Videogame soundscapes

This paper proposes a methodological framework to analyze the sonic output of computer games by investigating and adapting available soundscape studies, as discussed primarily by R. Murray Schafer and Barry Truax. While the current academic research about sound in games highlighted the problematic nature of the application of film sound theory to videogames (Jørgensen 2007, 2009, 2011; Collins 2007), this paper considers studies concerning videogame audio, soundscapes and acoustic ecology (Grimshaw 2007; Grimshaw and Schott 2007; O' Keefe 2011; Droumeva 2011) by re-focusing the attention on existing soundscape methodologies, analyzing their theoretical validity and the productiveness of such an approach. By critically considering Truax (2001) analysis of an arcade game room soundscape, videogames will be repositioned by considering them objects for meaningful acoustic communication. An analysis of the sonic environment actualized by the videogame player during a play session is performed, identifying the key features (keynote sounds, sound signals and soundmarks) and the level of definition of a videogame soundscape (high or low definition). Examples are based on modern games such as Street Fighter IV (Capcom 2009) and Grand Theft Auto IV (Rockstar Games 2008), as well as classic titles like Pac-Man (Namco 1980) and Bomberman (Hudson Soft 1983).peer-reviewe

Moving Image Preservation in Libraries

published or submitted for publicatio

Moving Image Preservation and Cultural Capital

This article examines the changing landscape of moving image archiving in the wake of recent developments in online video sharing services such as YouTube and Google Video. The most crucial change to moving image archives may not be in regard to the collections themselves, but rather the social order that sustains cultural institutions in their role as the creators and sustainers of objectified cultural capital. In the future, moving image stewardship may no longer be the exclusive province of institutions such as archives and libraries, and may soon be accomplished in part through the work of other interested individuals and organizations as they contribute to and define collections. The technologies being built and tested in the current Internet environment offer a new model for the reimagined moving image archive, which foregrounds the user in the process of creating the archive and strongly encourages the appropriation of moving images for new works. This new archetype, which in theory functions on democratic principles, considers moving images???along with most other types of cultural heritage material???to be building blocks of creative acts or public speech acts. One might argue that the latter represents a new model for creating an archive; this new democratic archive documents and facilitates social discourse.published or submitted for publicatio

BOX: One Minute Volume 3

BOX is a digital short originally developed in 2004 documented on a 1920’s box camera. This early moving image work formed the basis of a practice which interrogates our experience of moving image through the remediation of analogue technology with new media. In 2009 it was included in One Minute Volume 3; a programme of artists moving image curated by Kerry Baldry including work by: Tony Hill, Tina Keane, Katherine Meynell, Kayla Parker and Stuart Moore, Dave Griffiths, Marty St James Alex Pearl and Nick Jordan.</p

Ecologies of the Moving Image: Cinema, Affect, Nature by Adrian J Ivakhiv

Review of Adrian J. Ivankhiv\u27s Ecologies of the Moving Image: Cinema, Affect, Nature

The Moving image

None provided

In Girum (version/round 1.3, 2008) – Dir. Nick Cope: Video/DVD in collaboration with Composer Tim Howle, 6’05”. Awards: Abstracta International Abstract Cinema Exhibition, Rome, August 2009 – Honourable Mention of the Jury.

Short film/video exploring the encounter of electroacoustic music composition and moving image practice

Audit of Moving Image Education & Media Access Centres in Scotland

No abstract available

MOVING IMAGE - STILL LIFE

PIET ZWART INSTITUTE / WILLEM DE KOONING ACADEM

Using moving image archives

This publication, which is also a special issue of Scope: An Online Journal of Film and Media, was the outcome of a two-year long series of conferences and events attended by doctoral students, archivists, and scholars from across the United Kingdom to discuss and debate the use of archives in their interdisciplinary study of moving images. Across this collection of articles, scholars ask: how is the archive, as a repository of memory and of the past, used to construct cultural history? What can archives tell us about the formation of particular categories of identity? How can the ephemeral, like the digital, be archived